
Patsy Phillips
Season 2023 Episode 8 | 26m 47sVideo has Closed Captions
Patsy Phillips, Director of the IAIA Museum of Contemporary Native Arts.
This week's guest on "Report from Santa Fe" is Patsy Phillips, Director of the IAIA (Institute of American Indian Arts) Museum of Contemporary Native Arts, which was just named the third best art museum in the country by USA Today Ten Best Museums.
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Report From Santa Fe, Produced by KENW is a local public television program presented by NMPBS

Patsy Phillips
Season 2023 Episode 8 | 26m 47sVideo has Closed Captions
This week's guest on "Report from Santa Fe" is Patsy Phillips, Director of the IAIA (Institute of American Indian Arts) Museum of Contemporary Native Arts, which was just named the third best art museum in the country by USA Today Ten Best Museums.
Problems playing video? | Closed Captioning Feedback
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Learn Moreabout PBS online sponsorshipREPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: HELLO, I AM LORENE<\p> MILLS AND WELCOME TO REPORT<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: HELLO, I AM LORENE<\p> MILLS AND WELCOME TO REPORT<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: HELLO, I AM LORENE<\p> MILLS AND WELCOME TO REPORT<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: HELLO, I AM LORENE<\p> MILLS AND WELCOME TO REPORT<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: HELLO, I AM LORENE<\p> MILLS AND WELCOME TO REPORT<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: HELLO, I AM LORENE<\p> MILLS AND WELCOME TO REPORT<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MILLS AND WELCOME TO REPORT<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FROM SANTA FE .
I AM DELIGHTED<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO INTRODUCE OUR GUEST<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TODAY, PATSY PHILLIPS,<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THANK YOU FOR JOINING US.<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THANK YOU SO MUCH<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FOR THE INVITATION.<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: WELL, YOU ARE THE<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DIRECTOR OF THE IAIA, WHICH IS<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE INSTITUTE OF AMERICAN INDIAN<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARTS MUSEUM OF CONTEMPORARY<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NATIVE ARTS AND YOU HAVE JUST<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GOTTEN A WONDERFUL HONOR.
DO<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU WANT TO TELL US ABOUT IT?<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YES, WE WERE NAMED<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE THIRD BEST ART MUSEUM IN<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE COUNTRY BY USA TODAY<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TEN BEST MUSEUMS.
APPARENTLY,<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY HAVE A COMMITTEE<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THE COMMITTEE SELECTS<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TWENTY MUSEUMS IN THE COUNTRY<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THEN THEY HAVE THE TOP<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TEN THAT THEY GIVE AWARDS TO.<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: WELL, WERE<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU SURPRISED?<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, I WAS SURPRISED<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> EXCEPT IT'S A VOTING PROCESS<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO I WAS AWARE OF IT, WE<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WERE ASKING OUR CONSTITUENTS.<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: BUT THAT WASN'T<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE ONLY AWARD YOU GOT<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BECAUSE THE FORD FOUNDATION<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ALSO NAMED YOU AS ONE OF<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AMERICA'S CULTURAL TREASURES.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND SO I WANT TO<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CELEBRATE THAT BUT I ALSO WANT<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO REMIND NEW MEXICANS THAT<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THIS THIRD BEST ART MUSEUM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN THE COUNTRY IS RIGHT<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HERE IN SANTA FE, DOWNTOWN,<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BEAUTIFULLY SITED OPPOSITE<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE CATHEDRAL, THE FRONT DOORS<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF THE CATHEDRAL.
MAYBE YOU<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COULD SHOW US A PICTURE SO IF<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE ARE WANDERING AROUND<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOOKING FOR IT, SHOW<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> US WHAT THE FAÇADE IS.<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: SO THAT IS<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE FRONT OF OUR BUILDING.<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND WHAT WE ARE REALLY<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> KNOWN FOR ARE OUR COLUMNS.<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: I LOVE THE COLUMNS.<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: AND EVERY DAY, ALL<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DAY, EVERY HOUR, PEOPLE ARE<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PHOTOGRAPHING IN FRONT OF IT.<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH.<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: PLUS I ALWAYS<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SEE THEM IN ADS.<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH YES, YEAH, YEAH.<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO PEOPLE COME FROM ALL OVER<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE COUNTRY TO SEE YOUR MUSEUM,<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT WHAT I WANTED TO CONTINUE<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO REMIND NEW MEXICANS TO<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COME DOWNTOWN IN SANTA FE AND<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SEE OUR MUSEUMS.
HOW LONG<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAVE YOU BEEN THE DIRECTOR?<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: I AM IN MY<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FIFTEENTH YEAR AS DIRECTOR.<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH GOOD, OH GOOD,<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GOOD, GOOD.
YOU SENT ME<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOUR CURRICULUM VITAE<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOUR CD AND IT WAS AMAZING.<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, THANK YOU.<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: IT WAS AMAZING,<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE COULD DO EIGHT SHOWS JUST<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FROM EACH CHAPTER IN YOUR<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LIFE THAT YOU HAVE DONE.<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT YOU HAVE A BACHELOR'S IN<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ANTHROPOLOGY FROM SOUTHERN<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> METHODIST UNIVERSITY,<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A GRADUATE CERTIFICATE<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN MUSEUM STUDIES FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HARVARD, AND A LITTLE ICING<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ON THE CAKE, A MASTER'S<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN CREATIVE WRITING FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HARVARD.
CONGRATULATIONS.<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THANK YOU,<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT'S A LOT OF WORK.<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YES, IT IS.
BUT,<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I AM WONDERING, WHAT SET YOU<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ON THIS PATH, DID YOU ALWAYS<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOVE MUSEUMS OR WAS IT<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE DEGREE IN ANTHROPOLOGY,<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THERE IS A LOT OF DIGGING<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AROUND AND RESEARCH TO DO.<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHAT SET YOU ON THIS PATH?<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: I ALWAYS LIKE TO SAY<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I COME FROM A HIGHLY UNEDUCATED<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FAMILY, YOU KNOW HOW PEOPLE<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SAY EDUCATED.
MY FATHER WAS<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ILLITERATE, HE COULD ONLY SIGN<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HIS NAME AND MY MOTHER WENT TO<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE EIGHTH GRADE, SO EDUCATION<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WASN'T ENCOURAGED IN MY<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FAMILY.
AND WHEN I GRADUATED,<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I GRADUATED FROM HIGH SCHOOL<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ALTHOUGH BOTH MY SISTERS<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DIDN'T, BUT WHEN I GRADUATED,<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I DIDN'T EVEN THINK ABOUT GOING<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO COLLEGE, IT WASN'T EVEN<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SOMETHING IN MY HEAD.
AND SO<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN MY 20S, I STARTED READING<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE CLASSICS AND I READ MANY,<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MANY CLASSICS, I CAN'T SAY ALL<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF THEM BUT MANY.
AND I JUST<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> STARTED GETTING INTERESTED IN<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LEARNING AND SO I DIDN'T GO TO<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COLLEGE UNTIL I WAS 30, AND<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I WENT TO SMU WHEN I WAS 30.<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I MET A PROFESSOR, DR. WILLIAM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PULTE AT SMU, AND HE WAS A<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LINGUIST AND HE STUDIED MY<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GRANDFATHER AND MY UNCLE ON<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE CHEROKEE NATION AND SO<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT SORT OF, YOU KNOW WHEN<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU ARE RAISED IN A CERTAIN<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CULTURE IT IS NOT THAT SPECIAL,<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU ARE JUST RAISED IN IT.<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND SO HE GOT ME REALLY<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INTERESTED IN LOOKING AT MY<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OWN TRIBE AND THAT WAS AN<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ANTHROPOLOGY CLASS SO THAT IS<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHAT STARTED ME ON THAT PATH.<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: WELL, ONE OF THE<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARTICLES I READ ABOUT YOU<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS CALLED DUAL IDENTITIES,<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BECAUSE YOU HAVE THE CHEROKEE<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THE IRISH AND YOU WERE<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> RAISED BOTH NATIVE AND<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NON-NATIVE.
SO HOW WAS THAT<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHEN YOU WERE GROWING UP,<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DID YOU COMPARTMENTALIZE<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEM OR DID YOU EMBRACE<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEM BOTH, WAS IT CONFUSING?<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: IT WAS VERY CONFUSING,<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> REALLY.
MY CHEROKEE FAMILY<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LIVES ON THE CHEROKEE NATION<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND MY FATHER'S FAMILY, THE<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IRISH, LIVES NOT FAR FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE CHEROKEE NATION.
SO WE<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WOULD SPEND SUMMERS WITH<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BOTH FAMILIES.
BUT I LIKE<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO TELL THE STORY, I HAD A<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DREAM GROWING UP AND THAT IS<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I WAS AT MY IRISH FAMILY'S<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HOUSE, MY GRANDPARENTS AND<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE INDIANS WERE SURROUNDING<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE HOUSE ON HORSEBACK AND<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MY FATHER AND MY GRANDFATHER<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WERE TRYING TO HOLD ME BACK<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND I'M LIKE RUNNING OUT THE<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DOOR, "I AM INDIAN, I AM INDIAN,<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I JUST DON'T LOOK INDIAN.
"<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND MY UNCLE JAKE ON MY INDIAN<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SIDE PUTS ME ON THE BACK OF<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HIS HORSE AND TAKES ME OFF.<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO THAT WAS A REOCCURRING<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DREAM THAT I HAD UNTIL I WAS<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ABOUT 11, SO, IT WAS CONFUSING.<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YES AND THAT'S SUCH<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A PERFECTLY SYMBOLIC DREAM.<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I MEAN WHAT A GIFT, WHAT A GIFT.<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT THE WHOLE ISSUE OF IDENTITY<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS A REALLY BIG ISSUE.<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, IT IS A BIG<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ISSUE.
IT IS A BIG ISSUE IN<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE PAST, IT IS A BIG ISSUE,<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PERSONALLY, I DON'T HAVE THE<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ISSUE ANYMORE, BUT I DID WHEN<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I WAS GROWING UP AND I DID<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHEN I FIRST GOT IN THE FIELD<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND MAINLY BECAUSE I DON'T LOOK<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CHEROKEE.
BUT MY MOTHER IS<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FULL BLOOD, SHE IS A FLUENT<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SPEAKER IN CHEROKEE SO,<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU KNOW, I AM AUTHENTIC.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: BUT A LOT OF<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ART THAT IS CREATED<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TODAY IS ABOUT IDENTITY.<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YES.<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: A LOT OF YOUNG<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE ARE LOOKING AT THAT.<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH AND ALSO ONE OF<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOUR EARLY EXHIBITS WAS ABOUT<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FINDING OUR VOICES AND BECAUSE<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT HAS TAKEN CENTURIES, DECADES<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FOR AUTHENTIC NATIVE AMERICAN<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> VOICES TO BE RECOGNIZED.<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH.<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND WE HAVE GOT<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE LIKE JOY HARJO, OUR<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FIRST NATIVE AMERICAN POET<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LAUREATE AND SCOTT MOMADAY,<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OH MY GOSH, WITH THE VOICE.<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE VOICE OF THE HEAVENS.
BUT<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT HAS BEEN A LONG PROCESS.<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: IT IS A LONG PROCESS,<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE ARE STILL IN IT.
WE ARE<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NOT THROUGH IT FOR SURE, BUT,<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE LIKE JOY HARJO AND<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SCOTT, I MEAN REALLY, THEY<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARE VERY GOOD REPRESENTATIVES.<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH.<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: FOR INDIGENOUS PEOPLE.<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE HAVE MANY TODAY NOW.<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: I WOULD LIKE TO<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOOK A LITTLE BIT AT SOME OF,<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU CAN TELL US A LITTLE ABOUT<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SOME OF THE PAST IN YOUR<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FIFTEEN YEARS AS DIRECTOR,<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SOME OF THE PAST EXHIBITS YOU<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAVE DONE BUT ALSO WHAT<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE CAN SEE NOW, CURRENT.<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: OKAY.
I BROUGHT AN<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IMAGE.
WE CURRENTLY HAVE RICK<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> RIVET, HE IS A CANADIAN ARTIST<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND HE WAS REALLY MOST POPULAR<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN THE 90S AND A LOT OF PEOPLE<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DON'T KNOW HIM AND I PERSONALLY<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DIDN'T KNOW HIM, BUT OUR CHIEF<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CURATOR DID.
THAT IS ONE OF<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE THINGS THAT I LOVE ABOUT<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MY MUSEUM IS THAT I CAN KEEP<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LEARNING.
SO THAT IS RICK RIVET,<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND HE IS ON VIEW IN OUR MAIN<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GALLERY, HIS WORK, AND HE IS<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A PAINTER AND HE LIVES UP IN<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NORTHWEST PASSAGE, SHAMANISM.<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HIS JOURNEY BASICALLY AND HIS<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PAINTINGS ARE SURREALISTIC,<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> REALLY REALLY GOOD PAINTINGS.<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: BUT THEY ARE<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> VERY EVOCATIVE.<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, THEY ARE<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> VERY EVOCATIVE.<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND THEN YOU<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAVE SOME OTHER ONES.<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: AND THEN WE HAVE OUR<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BFA EXHIBITION, IT'S CALLED<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BEYOND REFLECTIONS AND THIS<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ISJONTAY KAHM AND HE IS AN<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INCREDIBLE YOUNG DESIGNER, SO<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THIS IS AN EXAMPLE OF HIS WORK.<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT WITH OUR BFA SHOW, WE LET<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> STUDENTS CURATE IT, SO IXEL<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LINDSTROM, AN IAIA STUDENT<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CURATED THIS SHOW AND<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SHE JUST DID A GREAT JOB.<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: WOULD YOU DESCRIBE<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE UNIQUE TEXTURE OF<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THIS GARMENT BECAUSE IT<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FEATURES GOOSE FEATHERS?<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, IT'S MOSTLY<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GOOSE FEATHERS.<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: HOW LOVELY.<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: HE IS SO TALENTED.<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU WILL HAVE TO COME,<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> EVERYBODY WILL HAVE TO COME<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND SEE EVERYBODY'S WORK,<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE WHOLE SHOW IS EXCELLENT.<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: RIGHT.<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: AND IT JUST<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OPENED TODAY, THAT SHOW<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> JUST OPENED TODAY.<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH, CONGRATULATIONS,<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CONGRATULATIONS.
HERE IS<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ANOTHER ONE, ARMORED BEAUTY.<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: NOW THAT IS A SHOW THAT<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE HAD IN OUR PAST.
AND I WILL<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> JUST QUICKLY SHOW THE IMAGE.<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH, YOU MUST<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SHOW IT, IT'S STUNNING.<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THIS IS DECONTIE AND<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BROWN, THIS WAS A FASHION SHOW<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE HAD LAST FALL AND DECONTIE<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND BROWN, THEY ARE A MARRIED<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COUPLE AND THEY CREATED THIS<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WORK TOGETHER.
THIS IS AN<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> UPCYCLED WEDDING DRESS AND THEY<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TOOK RESEARCH THAT HAD BEEN<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CONDUCTED IN BRAZIL.
SO THE<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DRINK SCHWEPPES A LOT OF PEOPLE<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> KNOW THAT DRINK SCHWEPPES,<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY COMMISSIONED RESEARCHERS<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO CREATE A DRESS WITH SENSORS<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO SEE HOW MUCH A WOMAN<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS TOUCHED IN A NIGHTCLUB.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YOU COULDN'T SEE THE<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SENSORS, IT WAS A SIMPLE DRESS<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THEY WERE UNDERNEATH.
IN<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> REAL TIME THE RESEARCHERS SAT<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NEXT DOOR IN A BUILDING AND<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY TRACKED IN REAL TIME WHAT<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WAS HAPPENING AND HOW OFTEN<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WOMEN WERE TOUCHED.
AND IN<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LESS THAN FOUR HOURS, THE<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WOMEN WERE TOUCHED 157 TIMES.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: SO WHAT THEY DID<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WITH THE RESEARCH IS THEY PUT<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THESE SPIKES ALL OVER THE<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DRESS SO ON THE SHOULDERS, OF<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COURSE, THE BUTTOCKS, AROUND<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE WRIST, EVERYWHERE WOMEN<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WERE TOUCHED IN LESS THAN<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FOUR HOURS, 157 TIMES.
IT IS<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PRETTY STUNNING, I THINK.<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH MY GOODNESS, YEAH.<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: WHAT I LIKE ABOUT THE<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MUSEUM IS THAT WE ARE TEACHING<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE ABOUT WHAT GOES ON IN<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDIGENOUS COMMUNITIES.
THIS<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DRESS IS ALSO ABOUT MISSING<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MURDERED INDIGENOUS WOMEN AND<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GIRLS, OF COURSE THEY DON'T<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WANT TO BE TOUCHED, RIGHT?<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO WE ARE TEACHING WHAT IS<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAPPENING AND WITH THIS SHOW,<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT WAS FABULOUS, IT IS CALLED<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE ART OF INDIGENOUS FASHION.<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND YOU WALK IN AND YOU SEE A<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHOLE GALLERY OF JUST BEAUTIFUL,<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BEAUTIFUL GOWNS, NOT JUST GOWNS<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT ALSO OTHER BEADWORK, ETC.<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEN YOU READ CLOSELY, AND<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU READ A STORY LIKE THIS<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARMORED BEAUTY AND IT HAS<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO MUCH MEANING BEHIND IT.<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH, IT DOES BUT IT<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS EYE OPENING FOR EVERY WOMAN.<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, EVERYONE,<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS UNIVERSAL.<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND THEN FOR<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ENDANGERED, MISSING AND<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MURDERED, YOU KNOW, PERHAPS<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THERE WOULD BE WAY MORE<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> UNWANTED TOUCHING, WAY MORE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: I AM KIND OF GOB<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SMACKED BY THE BRILLIANCE OF<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CREATING A GARMENT LIKE THAT.<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: I KNOW, ME TOO.<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: IT IS A DOCUMENT OF<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHAT WE KNOW IS HAPPENING BUT,<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU KNOW, IT'S ALRIGHT, BOYS<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WILL BE BOYS AND ALL THAT STUFF<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND NO, YOU HAVE TO BE AWARE.<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THAT'S WHY ART<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS SO IMPORTANT.<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YES.<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: REALLY.
I MEAN<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NOWHERE ELSE CAN YOU PUT<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ALL THAT TOGETHER AND LEARN<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ABOUT IT.
I MEAN AND YOU LEARN<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ABOUT IT REALLY THROUGH BEAUTY.<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH, THERE IS ONE<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OTHER PIECE THAT I WANTED YOU<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO TELL ME ABOUT IF YOU COULD.<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: SO THIS IS A SHOW<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT WE HAD EARLY LAST YEAR.<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS CALLED EXPOSE YOUR NATIVE<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ART AND POLITICAL ECOLOGY.<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND WHAT?<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: POLITICAL ECOLOGY.<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: POLITICAL<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ECOLOGY, LORD.<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: AND THIS SHOW,<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I WANT TO SAY FIRST, IT WAS<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GENEROUSLY FUNDED, THE ANDY<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WARHOL FOUNDATION FUNDED IT,<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE FORD FOUNDATION FUNDED IT,<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND WHAT WE DID, THE CURATOR<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND I DID SOME WORK ON IT WITH<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE CURATOR, BUT BASICALLY WE<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOOKED AT INDIGENOUS COMMUNITIES<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AROUND THE WORLD AND HOW THEY<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARE AFFECTED BY URANIUM MINING<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND NUCLEAR WASTE.
AND SO<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE WENT TO GREENLAND AND THAT<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WAS THE INUITS, AND THEN WE<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WENT TO AUSTRALIA AND THAT<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WAS THE ABORIGINALS AND THAT<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PIECE IS AN ABORIGINAL PIECE,<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS A COLLECTIVE AND THERE<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARE 500 SPEARS AND THEN IF YOU<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOOK AT THE PIECE CLOSELY,<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THERE IS A LIGHT IN THE<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CENTER AND BASICALLY IT<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS A NUCLEAR EXPLOSION.<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH MY GOSH.<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: AND SO THE WORK IN THAT<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> EXHIBITION IS SO SIGNIFICANT.<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE ALSO HAD THE AINU OF JAPAN,<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE HAD CANADA, THE FIRST NATIONS<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THEN WE HAD OF COURSE THE<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> US MOSTLY NAVAJO IN THAT SHOW.<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: WELL WE ARE SPEAKING<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TODAY WITH PATSY PHILLIPS<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHO IS THE DIRECTOR OF,<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TELL US THE WHOLE TITLE.<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: IAIA MUSEUM OF<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CONTEMPORARY NATIVE ART AND<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE ARE ALSO KNOWN BY MOCNA.<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH, THAT IS THE ONE<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I WAS TRYING TO RECONSTRUCT.<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, OKAY.<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: NOT TO GIVE AN<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ABBREVIATION FOR THAT AND NOT<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> KNOW WHAT IT WAS.
SO THAT IS<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO IMPORTANT BECAUSE PEOPLE<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DON'T WANT TO KNOW, I MEAN<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE ARE LOOKING AT PASSING A<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BILL IN THIS LEGISLATURE AND<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE BACKGROUND NOISE THAT<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OUR AUDIENCE HEARS, WE ARE<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FILMING DURING THE SESSION<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THAT'S THE SOUND OF THE<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LAWMAKERS AT WORK.
BUT WE WANT<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO PASS A LAW FOR NEW MEXICO<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT WE DON'T, SOMEONE HAD<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE BRIGHT IDEA TO SEND THE<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ENTIRE NATION'S SPENT FUEL RODS,<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HIGH LEVEL NUCLEAR WASTE, TO BE<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BURIED DOWN IN ABOVE CARLSBAD.<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, I HAD<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HEARD ABOUT THAT.<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: BUT WE DON'T WANT IT.<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, RIGHT.<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND SO, BUT A LOT<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF THE PEOPLE SAY, "OH<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE WILL GET 30 JOBS OUT<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF IT."
BUT YOU WILL GET<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> 300,000 YEARS OF POISON.<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH.<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: SO, WHEN YOU LOOK<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AT AN IMAGE LIKE THAT WITH<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ALL THE 500 ARROWS OR SPEARS<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THE LIGHT, IT ALLOWS US<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO ACCESS POSSIBILITIES AND<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NEW WAYS OF LOOKING AT<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THESE THINGS THAT SEEM TO BE<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FACILELY JUST EXPLAINED AWAY,<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NO PROBLEM, THE FACT THAT<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY WILL ALL COME ON TRAINS<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THERE ARE ALL THESE TRAIN<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WRECKS.
I MEAN WE HOPE THAT<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DURING THE SESSION WE'LL DO<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE RIGHT THING AND SAY, "NO,<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE ALREADY GAVE TO THE ATOMIC<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ENERGY, BOMBS, AND EVERYTHING.
"<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: CAN I TELL YOU THEY<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAVE DONE A LOT OF MINING ON<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDIAN COUNTRY, SO FOR EXAMPLE,<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE NAVAJO.
I MEAN THEY DID<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SERIOUS MINING IN THE 50S, 60S,<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THEN THE COMPANIES DIDN'T<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CLEAN THEM UP, SO THE NATIVE<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE HAVE BEEN AFFECTED.<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: ABSOLUTELY.<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THE WATER, I MEAN<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> REALLY, IT IS A SERIOUS,<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SERIOUS ISSUE.<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: I WILL TELL YOU THAT<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN THE LAST SESSION, SENATOR<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> STEINBORN FROM LAS CRUCES,<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PASSED A LAW.
WE HAVE BEEN<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WAITING FOR THE FEDS TO<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CLEAN UP ALL THESE URANIUM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TAILINGS AND HE PASSED A LAW<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT WE HAVE TO CLEAN IT UP,<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT JUST HAS TO BE CLEANED UP.<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: IT HAS TO<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BE CLEANED UP.<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: IT HAS TO BE<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IDENTIFIED.
DON'T HAVE<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOUR PICNIC ON THIS<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ATTRACTIVE PILE OF ROCKS<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AS THEY ARE RADIOACTIVE.<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, THAT'S RIGHT.<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND SO NOW WE ARE<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TRYING TO HAVE BARRIERS THAT<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY CAN'T BRING IN EXTERNAL<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WASTE, BUT IT IS SHOCKING<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT NOBODY WARNED ANYBODY.<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY JUST LEFT IT THERE.<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: SO LET ME TELL YOU<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ONE OF THE THINGS THAT WE ARE<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DOING WITH THE SHOW EXPOSURE<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NATIVE ART AND POLITICAL<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ECOLOGY IS WE HAVE CREATED<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A FABULOUS CATALOG FOR ONE<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THING.
AND IT REALLY DOES, WE<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WORKED WITH CURATORS IN ALL<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THOSE COUNTRIES, INDIGENOUS<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CURATORS IN THOSE COUNTRIES,<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THEY WROTE ESSAYS ABOUT<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHAT IS GOING ON IN THEIR<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COUNTRY.
AND SINCE WE WERE<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SHIPPING ALL THAT WORK FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THESE DIFFERENT LANDS, I ASKED<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE CHIEF CURATOR, "LET'S<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TRAVEL THAT SHOW."
AND SO IT'S<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TRAVELING RIGHT NOW, IT'S AT<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE ARMORY IN PASADENA,<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CALIFORNIA AND THEN IT GOES<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO EL PASO NEXT.
BUT IT IS A<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WAY TO EDUCATE PEOPLE, I MEAN<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT REALLY IS OUR GOAL HERE.<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS SUCH A SERIOUS PROBLEM,<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS A SERIOUS PROBLEM IN MANY<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AREAS AND MANY COMMUNITIES.<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND AGAIN IT IS<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SOMETHING THAT THE POWERS THAT<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BE WILL TELL YOU BECAUSE THEY<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TOLD US ABOUT HOLTECH AND<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> URANIUM, "OH NO PROBLEM," THERE<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARE NO TRAIN WRECKS, THERE'S<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NOTHING.
BUT PEOPLE HAVE TO<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GO AGAINST THE TIDE AND FIGHT<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AGAINST THIS, BUT I DIDN'T<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> KNOW THERE WAS A RADIOACTIVITY<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> STORAGE PROBLEM IN GREENLAND.<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH.<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: WHOSE WASTE IS THAT?<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: OKAY, SO LET ME TELL<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU THIS, THIS IS FASCINATING<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO ME.
SO GREENLAND HAS THE<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THREAT OF URANIUM MINING, THEY<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DON'T HAVE IT YET, IN FACT THEY<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAVE BEEN VOTING, AT A POINT<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY VOTED FOR IT, NOW THEY ARE<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> VOTING AGAINST IT.
SO WE COVERED<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEM, THE ICE IS MELTING, RIGHT?<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: RIGHT.<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: SO THAT'S WHY.<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NOW ALL THESE INTERNATIONAL<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COMPANIES ARE GOING TO THE<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INUIT, GREENLAND IS 87%<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INUIT.
SO THEY WANT TO HAVE<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDEPENDENCE FROM DENMARK AND<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO THESE COMPANIES ARE COMING<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN AND SAYING, WELL, WE'LL MINE.<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THERE WAS A POINT WHERE THEY<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WERE SORT OF INTERESTED SO<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY COULD GET INDEPENDENCE,<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NOW THEY ARE SAYING NO.<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO THEY DON'T HAVE ANY YET<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT THERE COULD BE IN THE<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FUTURE.
SO THAT'S WHY WE<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COVERED THEM FOR AWARENESS.<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: BUT ISN'T THAT<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ETERNAL SEED BANK IN GREENLAND,<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHERE THEY TOOK SEEDS IN<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CASE SOMETHING HAPPENED?<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: OH YEAH, YEAH,<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I THINK YOU ARE RIGHT.<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YOU KNOW SO THAT<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY WOULD BE HAVING THEN<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE ALPHA AND THE OMEGA.<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH.<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: THE SEEDS OF LIFE<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THEN THE SEEDS OF THE<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LEFT-HAND WAY OF DEATH PERHAPS.<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT THEY ARE VERY WISE I THINK.<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WOW, THERE'S SO MUCH, SO MUCH.<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THANK YOU.
AND TELL US AGAIN,<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HOW ART BYPASSES THE CRITICAL<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MIND, HOW DOES ART WORK?<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, THAT'S A<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PRETTY ESOTERIC QUESTION.<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: I KNOW IT IS,<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I KNOW IT IS.<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: IT IS VERY<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDIVIDUALISTIC IN MANY WAYS,<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> RIGHT?
I MEAN WE SHOW THESE<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LET'S TAKE THAT ONE-PIECE<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARMORED BEAUTY.
I MEAN SOME<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE WILL COME IN AND JUST<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOOK AND SAY, THAT'S AN<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INTERESTING DRESS.
AND THEN<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SOME PEOPLE WILL COME IN AND<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> READ THE LABEL AND TRY TO<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LEARN MORE ABOUT IT AND THEN<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> REALLY UNDERSTAND IT AND<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEN THEY CAN UNDERSTAND WHAT<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS HAPPENING IN THE INDIAN<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COMMUNITIES.
SO REALLY, ART<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN MANY WAYS IS SUBJECTIVE,<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT ART WORKS IN SHOWING<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE REALLY ABOUT ISSUES.<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CONTEMPORARY ART IS<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PRIMARILY ABOUT ISSUES IN<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE WORLD AND THAT IS WHAT<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY ADDRESS, THE ARTISTS.<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: ARE WE SUPPORTING OUR<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARTISTS WELL ENOUGH?
WE ARE<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN SANTA FE, ONE OF THE ART<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CAPITALS OF THE WORLD.<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: WHAT ARTISTS ARE YOU<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TALKING ABOUT, ANY ARTISTS?<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: ANY ARTISTS<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF FIBER, FILM, JEWELS,<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SCULPTURE, STONE, WOOD.<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THEY CAN ALL<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BE SUPPORTED MORE<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT'S WHAT I WOULD SAY.<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH, YEAH.<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YOU KNOW THE BIG ISSUE<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS REALLY HOUSING FOR ARTISTS.<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS SO EXPENSIVE TO LIVE<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HERE AS WE ALL KNOW.
BUT, YEAH,<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY CAN ALWAYS BE SUPPORTED<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MORE.
WE GET GRANT FUNDS AND,<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU KNOW, WE PAY OUR ARTISTS<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO EXHIBIT AT THE MUSEUM.<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT IS A FAIRLY NEW PRACTICE,<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN THE PAST, YOU KNOW, ARTISTS<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> JUST WERE EXPECTED TO EXHIBIT.<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT NOW WE WILL PAY ARTISTS<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A FEE, WE PAY EVERYBODY,<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDIGENOUS PEOPLE, WHO WORK<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FOR US, WE PAY EVERYBODY.<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE WHO ARE ON PANELS<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FOR EXAMPLE AND ARTISTS.<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YOU HAD SAID AT ONE<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> POINT, "MY THING IS THAT WE<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAVE THE BEST ARTISTS IN THE<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WORLD, THEY SHOULD BE ON THE<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PLATFORM WITH CONTEMPORARY<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARTISTS FROM OTHER COUNTRIES.
"<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH, THAT IS RIGHT.<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: PARTICULARLY<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NATIVE ARTISTS.<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: YEAH.
WHEN I FIRST<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GOT INTO THE FIELD, I WAS IN<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MY MID 30S AND I WAS INVITED,<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THERE WAS A GROUP OF PEOPLE<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOCALLY IN SANTA FE.
I WAS<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LIVING IN PHOENIX, WORKING<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FOR ATLATL AND I WAS INVITED<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO PARTICIPATE IN ORGANIZING<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AN EXHIBITION AT THE VENICE<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BIENNALE IN 2007.
AND WE TOOK<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A GROUP OF NATIVE ARTISTS<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN 2009.
HARRY FONSECA,BOB<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAOZOUS, NANCY MARIE MITHLO,<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LLOYD KIVA NEW, LADONNA<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HARRIS, THERE WERE A LOT OF<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PEOPLE AND I WAS YOUNG BUT<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT WAS SO EXCITING TO BE PART<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF IT.
I THINK THAT HAD SUCH<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AN IMPACT, THAT IS WHY WE DO<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE WORK, THAT'S WHY I DO THE<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WORK I DO TODAY.
BUT WE WOULD<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GO TO VENICE AND I HAVE GONE<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MANY TIMES NOW OVER THE YEARS<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND WITH MAYBE ONE OF MY<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> COLLEAGUES OR SOMEBODY AND<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE ARE LIKE THIS COULD BE A<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NATIVE ARTS.
NATIVE ARTISTS<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARE BETTER THAN THIS<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PARTICULAR WORK, OF COURSE<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NOT EVERYTHING BUT WE HAVE<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ALWAYS FELT THAT WAY.
AND,<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDIGENOUS ARTISTS HAVE YET<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO BE IN THE UNITED STATES<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> PAVILION REPRESENTING THE<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> UNITED STATES AND THEY HAD<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN THE 30S THEY TOOK OVER<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SOME POTS, SO I WILL SAY IN<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> MODERN DAY THAT IS DEFINITELY<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TRUE.
WE ORGANIZED A SHOW AND<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TOOK IT OVER BUT IT WAS MORE<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF WHAT THEY CALL "COLLATERAL".<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY WERE THE EXHIBITS THAT<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WEREN'T OFFICIALLY IN THE<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> VENICE BIENNALE ALTHOUGH<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THEY WERE ACKNOWLEDGED BY<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE BIENNALE COMMITTEE.<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH, ONE OF THE<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THINGS THAT YOU HAVE DONE<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN YOUR CAREER IS TO TAKE A<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CHALLENGE AS AN OPPORTUNITY<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND I WAS REALLY INTERESTED<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BECAUSE OF THE COVID PANDEMIC,<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU HAVE A SENIOR MANAGER,<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A MUSEUM EDUCATOR, A DINE WOMAN<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NAMED WINOKA YEPA.
AND SO SHE<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAS DEVELOPED A PHONE APP AND<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DIGITIZED THE WHOLE EXHIBIT<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ON SOMETHING CALLED ART STEPS<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> APP.
AND YOU CAN ACTUALLY,<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ON YOUR PHONE OR TABLET,<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU CAN HAVE A VIRTUAL TOUR.<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THAT'S RIGHT.<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: THAT IS WONDERFUL.<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THERE ARE A FEW GOOD<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THINGS THAT CAME OUT OF COVID,<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NOT A LOT, BUT A FEW.
ONE<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF THEM IS WHEN YOU HAD AN<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> EXHIBITION, AND YOU DIDN'T<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAVE A CATALOG, WHEN IT<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CAME DOWN, THAT WAS IT.
THAT<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WAS JUST IT, IT WAS GONE AND<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT IS PRETTY COMMON.
BUT NOW,<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE HAVE ALL OF OUR EXHIBITIONS<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> VIRTUAL AND SO YOU CAN GO ON<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OUR WEBSITE AND EVEN TODAY<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OUR EXHIBIT.
SO WE ARE GOING TO<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> DO THIS IN PERPETUITY, THAT'S<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHAT I SAID.
WHAT I WOULD<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LIKE TO SAY ABOUT WHEN WANOKA<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YEPA, SHE DID A GREAT JOB.<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SHE ALSO SET UP SOME VIRTUAL<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> RESIDENCIES AND THOSE WERE A<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> CHALLENGE, BUT SHE LEFT FOR<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A GREAT OPPORTUNITY AND SHE<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WENT TO WORK FOR NATIVES<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN PHILANTHROPY.
SHE IS<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> NO LONGER AT THE MUSEUM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT WE JUST HIRED WAYNE<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GAUSSOIN, A LOT OF PEOPLE<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> KNOW THE GAUSSOIN FAMILY.<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YES.<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: AND SO HE IS STARTING<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AS OUR MUSEUM EDUCATOR<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ON MONDAY.
BUT WANOKA DID<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A GREAT JOB AND SHE SET<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> UP A LOT OF GOOD THINGS<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT WE STILL HAVE IN PLACE.<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH.
WHAT ARE<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOUR FUTURE PLANS, WHAT<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARE YOU LOOKING AT?<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: OH, THAT'S<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A GOOD QUESTION.
IN<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WHAT WAY, EXHIBITS?<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: IN EXHIBITS,<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BECAUSE I REALLY WANT TO<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> URGE PEOPLE TO COME AND<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SEE WHAT YOU HAVE THERE.<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: JEAN LAMARR IS AN<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IMPORTANT PAINTER AND SHE<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAD ALSO TAUGHT AT IAIA AND<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SHE HAD AN EXHIBIT THAT OPENED<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IN NEVADA, I THINK IT WAS LAST<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YEAR AND ALSO A CATALOG.
SO WE<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ARE GOING TO TAKE THAT SHOW,<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS A TRAVELING EXHIBITION,<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND THAT WILL OPEN THIS FALL.<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> BUT WHAT WE REALLY ARE ALSO<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LOOKING AT IS WORKING WITH<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE INDIGENOUS OF BRAZIL.<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE CHIEF CURATOR IS WORKING<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ON A POTENTIAL EXHIBITION<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WITH THEM AND THEN ALSO THE<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDIGENOUS PEOPLE OF TAIWAN.<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: OH MY GOODNESS.<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: SO OUR MISSION IS<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> GLOBAL AND IAIA, THE COLLEGE,<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> YOU KNOW, WE HAVE INTERNATIONAL<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> STUDENTS THAT GO THERE AND<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> A LOT OF PEOPLE THINK IT IS<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> JUST NATIVE STUDENTS BUT IT<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS NOT, IT IS ALSO NON-NATIVE.<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SO OUR MISSION IS TO REPRESENT<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> INDIGENOUS ARTS AROUND THE WORLD<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND SO WE PLAN TO WORK WITH<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THESE DIFFERENT COMMUNITIES.<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: WELL I WANT YOU TO<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> KEEP US POSTED ON THIS.
I AM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> HAPPY TO SAY THAT OUR GUEST<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TODAY IS PATSY PHILLIPS,<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE DIRECTOR OF THE IAIA MUSEUM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> OF CONTEMPORARY NATIVE ARTS,<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THE WINNER OF THE THIRD BEST<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ART MUSEUM IN THE COUNTRY AND<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> WE REALLY WANT TO CELEBRATE THAT<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND ENCOURAGE EVERYONE TO COME<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND SEE IT IN DOWNTOWN SANTA FE<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> RIGHT OFF THE CATHEDRAL AND<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IT IS BEAUTIFUL.
THANK YOU<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FOR ALL YOU ARE DOING.<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THANK YOU SO MUCH.<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I WOULD LIKE TO SAY ONE THING.<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YES.<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THAT FOR ME IT IS NOT<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> ABOUT THE COMPETITION, IT<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> IS JUST ABOUT RECOGNIZING OUR<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> SMALL STAFF.
I MEAN WE HAVE<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LESS THAN 15 STAFF THAT WORK<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AT THE MUSEUM DOING THIS WORK.<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: YEAH.<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: WE ARE REALLY PLEASED<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THAT WE WERE RECOGNIZED.<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: EXACTLY, EXACTLY.<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AND I AM HAPPY YOU CAME TO TELL<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> US ABOUT IT, I URGE EVERYONE<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TO GO THERE.
THANK YOU, PATSY.<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>PATSY: THANK YOU,<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THANK YOU SO MUCH.<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> >>LORENE: AND I AM LORENE MILLS,<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> I WOULD LIKE TO THANK YOU OUR<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> AUDIENCE FOR BEING WITH US<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> TODAY ON REPORT FROM SANTA FE .<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> REPORT FROM SANTA FE IS MADE<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> POSSIBLE, IN PART, BY GRANTS<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> FROM THE NEW MEXICO MUNICIPAL<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> LEAGUE, A BETTER NEW MEXICO<\p> THROUGH BETTER CITIES AND FROM<\p> THROUGH BETTER CITIES AND FROM<\p>

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